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    Crayon Portraiture Complete Instructions for Making Crayon Portraits on Crayon Paper and on Platinum, Silver and Bromide Enlargements
    Crayon Portraiture Complete Instructions for Making Crayon Portraits on Crayon Paper and on Platinum, Silver and Bromide Enlargements
    Crayon Portraiture Complete Instructions for Making Crayon Portraits on Crayon Paper and on Platinum, Silver and Bromide Enlargements
    Ebook138 pages1 hour

    Crayon Portraiture Complete Instructions for Making Crayon Portraits on Crayon Paper and on Platinum, Silver and Bromide Enlargements

    By Jerome A. Barhydt

    ()

    Read preview
    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 26, 2013
    Crayon Portraiture Complete Instructions for Making Crayon Portraits on Crayon Paper and on Platinum, Silver and Bromide Enlargements

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      Book preview

      Crayon Portraiture Complete Instructions for Making Crayon Portraits on Crayon Paper and on Platinum, Silver and Bromide Enlargements - Jerome A. Barhydt

      The Project Gutenberg EBook of Crayon Portraiture, by Jerome A. Barhydt

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever. You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.net

      Title: Crayon Portraiture

      Complete Instructions for Making Crayon Portraits on Crayon

      Paper and on Platinum, Silver and Bromide Enlargements

      Author: Jerome A. Barhydt

      Release Date: October 13, 2009 [EBook #30248]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK CRAYON PORTRAITURE ***

      Produced by Chris Curnow, Diane Monico, and the Online

      Distributed Proofreading Team at http://www.pgdp.net (This

      file was produced from images generously made available

      by The Internet Archive)

      Crayon Portraiture.

      FREE-HAND CRAYON MADE ON STEINBACH CRAYON PAPER—STIPPLE EFFECT IN FACE, BROKEN LINE EFFECT IN BACKGROUND. BY J. A. BARHYDT.

      CRAYON PORTRAITURE

      Complete Instructions for Making Crayon

      Portraits on Crayon Paper and on

      Platinum, Silver and Bromide

      Enlargements

      ALSO DIRECTIONS FOR THE USE OF

      TRANSPARENT LIQUID WATER COLORS

      AND FOR MAKING

      FRENCH CRYSTALS

      BY

      J. A. BARHYDT

      Author of Article on Crayon Portraiture in

      Appleton's Annual Cyclopedia, 1890.

      Illustrated

      Revised and Enlarged Edition

      NEW YORK

      THE BAKER & TAYLOR CO.

      33-37 E. 17th Street, Union Square North

      Copyright, 1886 and 1892

      By J. A. BARHYDT

      ROBERT DRUMMOND, PRINTER, NEW YORK

      PREFACE.

      In issuing this second treatise on Crayon Portraiture, Liquid Water Colors and French Crystals, for the use of photographers and amateur artists, I do so with the hope and assurance that all the requirements in the way of instruction for making crayon portraits on photographic enlargements and for finishing photographs in color will be fully met. To these I have added complete instructions for free-hand crayons.

      This book embodies the results of a studio experience of twenty-four years spent in practical work, in teaching, and in overcoming the everyday difficulties encountered, not alone in my own work, but in that of my pupils as well. Hence the book has been prepared with special reference to the needs of the student. It presents a brief course of precepts, and requires on the part of the pupil only perseverance in order that he may achieve excellence. The mechanical principles are few, and have been laid down in a few words; and, as nearly all students have felt, in the earlier period of their art work, the necessity of some general rules to guide them in the composition and arrangement of color, I have given, without entering into any profound discussion of the subject, a few of its practical precepts, which, it is hoped, will prove helpful.

      While this book does not treat of art in a very broad way, yet I am convinced that those who follow its teachings will, through the work they accomplish, be soon led to a higher appreciation of art. Although this kind of work does not create, yet who will say that it will not have accomplished much if it shall prove to be the first step that shall lead some student to devote his or her life to the sacred calling of art?

      It has been said that artists rarely, if ever, write on art, because they have the impression that the public is too ill-informed to understand them—that is, to understand their ordinarily somewhat technical method of expression. If, therefore, in the following pages I may sometimes seem to take more space and time for an explanation than appears necessary, I hope the student will overlook it, as I seek to be thoroughly understood.

      My hope with reference to this work is that it may prove of actual value to the earnest student in helping him reach the excellence which is the common aim of all true artists.

      J. A. Barhydt.

      CONTENTS.

      PAGE.

      Preface ix

      Crayon Portraiture 15

      Photographic Enlargements 19

      Crayon Materials 22

      The Specific Use of Crayon Materials 25

      The Strainer 30

      Mounting Crayon Paper and Platinum and Silver Enlargements 32

      Mounting Bromide Enlargements 37

      Outlines—Negative Outline 39

      Magic Lantern Outline 42

      Transfer Outline 46

      The Metroscope 47

      The Pantograph 49

      Crayon Effects—The Four Methods of making Backgrounds 51

      Free-hand Crayons and those made from Photographic Enlargements 53

      Filling in the Free-hand Crayon 55

      Line Effect 57

      Stipple Effect 59

      Backgrounds—General Principles 62

      First Method of making the Background—Stump Effect 65

      Second Method of making the Background 66

      Third Method of making the Background—Line Effect 67

      Fourth Method of making the Background—Stipple Effect 70

      Face—Line Effect 72

      Dress—Line Effect 76

      Bromide Crayons 78

      Finishing Bromide Enlargements 82

      Monochromes 88

      Values 89

      The Studio 93

      Framing 95

      Passepartout Mounting 97

      TRANSPARENT LIQUID WATER COLORS FOR COLORING

      PHOTOGRAPHS.—MATERIALS REQUIRED IN THEIR USE 101

      Theory of Color 103

      Colors 106

      Yellow 106

      Blue 107

      Rose 108

      Violet 109

      Magenta 109

      Flesh 110

      Brown 110

      Black 111

      Gold 111

      Instructions for using Liquid Water Colors 112

      Drapery 114

      Landscape 116

      The Principle 117

      FRENCH CRYSTALS 123

      Materials 124

      The Method 125

      Mounting French Crystals 126

      Finishing Photographs in India Ink 128

      Conclusion 130

      LIST OF ILLUSTRATIONS.

      PAGE.

      Free-hand Crayon made on Steinbach Crayon Paper with a Magic Lantern Outline,

      showing Stipple Effect in Face and Drapery and Broken Line Effect in Background Frontispiece

      Negative Outline—Dark Chamber 40

      McAllister's Magic Lantern, No 653, with Wonder Camera Attachment 42

      Magic Lantern Outline 43

      Lines to produce Stipple Effect 60

      Background—Line Effect 67

      Line Effect for Face 72

      Line Effect for Dress 76

      Crayon executed over Bromide Enlargement made from Original Negative,

      showing Stipple Effect throughout 80

      CRAYON PORTRAITURE.

      To many who know nothing about the art of crayon portraiture, the mastery of it not only seems very difficult, but almost unattainable. In fact, any work of art of whatever description, which in its execution is beyond the knowledge or comprehension of the spectator, is to him a thing of almost supernatural character. Of course, this is more decided when the subject portrayed carries our thoughts beyond the realms of visible things.

      But the making of crayon portraits is not within the reach alone of the trained artist who follows it as a profession. I claim that any one who can learn to write can learn to draw, and that any one who can learn to draw can learn to make crayon portraits. Making them over a photograph, that is, an enlargement, is a comparatively simple matter, as it does not require as much knowledge of drawing as do free-hand crayons. But you must not suppose that, because the photographic enlargement gives you the drawing in line and an indistinct impression of the form in light and shade, you are not required to draw at all in making a crayon portrait over such an enlargement. Some knowledge of drawing is necessary, though not a perfect knowledge.

      Many people err in supposing that only the exceptionally skilled can produce the human features in life-like form upon the crayon paper. While recognizing great differences in natural aptitude for drawing in different persons, just as those who use the pen differ widely in their skill, some being able to write with almost mechanical perfection of form, I still hold

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